szuper_bojler

How is this not robbery? Surely he at least give the frog back to you if it wasn't fitting well?

They are offering it for more than double the price you quoted there.... hmmm it is a nice bow though.

Hi all, I'm currently shopping for bows and have come across two bows that I like a lot: a Manoel Francisco bow and a splined Douglas Raguse bow. The Francisco bow handles a bit better than the Raguse, but the Raguse produces a slightly thicker and richer sound. I'm leaning ever so slightly toward the Raguse bow, though I'm a bit hesitant about buying a splined bow—I'm not sure what risks I might be taking there. They are both in the same price range. I'm also not very confident in my bow-discerning skills—I know the Raguse bow is considered a "finer" bow, so I feel that as my playing improves, I'll learn to appreciate the qualities of a finer bow that I can't quite discern at the moment, which is another reason I'm leaning toward it. Any help or advice is much appreciated!

I used to browse his videos pretty frequently a decade ago back in middle school before I came to the States for college.... I actually thought that that's how all Southern Americans acted for almost a decade.

I meant more like "if I didn't care about money I'd buy it," although I can see how that might be misleading. On a more serious note, though, given the workmanship I saw from him, and if it sounds as good as it looks, I might actually seriously consider it one day.

Hey guys, I saw this scroll from Kevin Lee Luthier: I can't recall where exactly I've heard this from, but I remember watching one of his videos mention that he saw this kind of scroll buried in a pile of now-destroyed Stradivari's prototypes and scraps. He refers to this as the "Florentine" scroll. It looks very appealing and tasteful, if I'm being honest. If I had 40k lying around, I'd definitely commission a violin from him with this type of scroll. Does anyone know of any historical sources where this kind of style was used, either by Stradivari or anyone else? Or is this purely Kevin Lee's own invention?

Yeah I have --- I think it generally meets the requirements, though I'll have to modify it to fit the Chicago Manual of Style. But the thing I'm concerned more about if whether the results and the paper is something that VSA wants to publish. In my university at least, profs who have experience publishing at a journal would provide some perspectives on this. But none of the professors I know have published at VSA, so I'm not sure what the expectations are.

Hi all, I've done some research back in my undergrad days five years ago comparing the acoustic qualities of modern and gut strings in different performance settings. My advisors and I never got around to publishing it, partly because Covid was happening at the time, and my advisors didn't know where something like this could be published. Now that I got more into violin acoustics, I started to wonder if I can still submit the paper somewhere. This was done relatively early into my academic career so it's not that well written as it is now, but I stand by my results and the accuracy of my analysis, and am willing to polish it up a bit. However, I'm not sure where to submit it, perhaps to the VSA papers? None of the professors I know now at my current university did research on this stuff either, so I'm not even sure whom to go to for advice and help review the paper. Please let me know if you have any advice, and what steps I can take to get this paper reviewed, polished, and (hopefully) published. Thanks!

Fair point, I'll have a professional check my work, and if it is beyond rescue, I'll try have a new one professionally fitted then.

Thanks for the data and comparison, Don! The graphs look pretty convincing. That said, it seems like after the regraduation, two very steep troughs have been formed around 1300hz and 2300hz, was that also expected? I've heard that a smoother frequency response is always preferred for audio equitments. Though, I'm not sure how much that applies in the violin acoustics world. I'm a bit confused on how less mass leads to better bass response though. Wasn't there an experiment where you added putty/clay to the top plate which led to increase in bass response as well? So, shouldn't more mass mean more bass response? Not trying to throw wrenches, genuinely curious here.

Oh, I've done quite a bit of experiments on this violin already, I think I've gone through most of the things HoGo mentioned in his comment. Including changing to and from three different type of tail guts, playing with string after length, different tail pieces, switched from Dominants to PIs, changing the bridge etc.. I also had my local luthier plane the fingerboard and fit a new soundpost too. I'm not a trained luthier of course, but I tried my best according to the advice of those around me and the resources online.

That's fair, I guess I just want to nudge the sound of my own violin slightly more into the direction of a fuller sounding one. Which is why I'm here

Haha I've already spent a bit on bridge making tools, so kind of don't want to spend $250 more to get a new bridge. Though I'll ask my local luthier to adjust it for me, if he's willing to do that.

Eh, I guess it's more that I can tell the difference was pretty stark when she played her violin and mine side by side. Alone it sounded fine to my year, though, but it's hard not to feel like it could be more rich and full sounding.

I fitted the bridge myself, and made a post about it earlier, and did some refinement since. I *think* I've done a decent job? But I think I'll need to go to an actual luthier to check my job, and maybe provide some feedback. Good point though, I'll probably need to double check the weight of the bridge.